Tap was a household staple in my childhood. I was either trying to learn how to do it, watching the greats perform it in the Golden Age of film, or watching my mom and Bubby literally dance around the house. When I was dancing, my mom picked up tap again, and can still dance circles around anyone my age—triple time steps, pullbacks, wings, you name it. She got that from her mother, who was a Rockette for a year. Then there was me, who could not figure tap out for her life. I worked hard at it for seven years before moving on to other dance styles in which mistakes weren’t audible or visible, but it’s still one of my favorite styles to watch. Chris Rice, most recently in Broadway’s Book of Mormon, made tap popular again by posting a video of he and his friends dancing to “Cups” from Pitch Perfect, which only started an entire #Tappy movement! Chris has such a delightful energy when he’s performing, you can’t help but grin from ear to ear. I got to talk to him about his creative process, perspective taking, and collaborating with others. Enjoy!

Stef the StageSLP: Which came first for you, dance or theatre, and how did you discover each?

Chris Rice: When I was a kid, my older sister went to ballet every week. My mom used to take me along and try to entertain me while my sister was dancing. Eventually, I started watching her in her class and would dance around the lobby area on my own. My mom thought she could enroll me and see how I took to dancing in a class setting. I really enjoyed it. My church also presented a large, Broadway-style musical every year. I auditioned as a child dancer and was cast at a pretty young age. Dance and storytelling have gone together ever since then!

S: I got to see you perform in Book of Mormon, which is still one of the most unique theatrical experiences I’ve ever seen. What was it like to be a part of something so well-known and sought-after?

C: It was a complete dream come true. I grew up as a musical-loving kid in Oklahoma who always dreamed of performing on Broadway. It has always been my passion. Being able to look back at that wide-eyed, enthusiastic kid and say “You did it” is a pretty special thing. Being a part of such a major production for such an extended amount of time was unlike anything I have done in my career. The crowds were insane and the show never had a performance where it wasn’t sold out in my entire run with the show. That is pretty spectacular.

S: What did you learn from being a part of such a show?

C: I learned so many things from being a part of The Book of Mormon. It was my first time performing on Broadway in New York City. I learned so many things about how a show is run and maintained and also how it is the responsibility of the actor to keep the material fresh and exciting for every single audience.

My job in the show is called a “swing” which means I understudy more than one role. I covered 7 different roles in The Book of Mormon and had to be ready to go on for any one of them at a moment’s notice. This taught me self-discipline, it taught me to trust myself, and it taught me how to be prepared.

S: How do you overcome anxiety when you audition for or go onstage for a show every night?

C: I don’t usually get nervous to perform on stage anymore. It may happen occasionally, but usually when you open a stage show, you have had enough rehearsal to feel prepared.

Auditions still make me nervous for some reason. Maybe it is the fact that I don’t get to become a character and I have to be myself in the room. Don’t get me wrong; I am comfortable in my own skin. But perhaps it is easier to jump into a role because the work is done for you. The script and score of a musical lead you through the story. They set up the world of the character. In auditions, you are yourself and then you must jump into the world of a character in the middle of their journey. Something about this allows my nerves to creep in.

I think preparation is the key to eliminating or minimizing nervousness. If you have done the work and are prepared, you know you can do it. You have sung the song before and you have rehearsed the material enough so it is now in your body. Once you have done it enough, your confidence will grow and you’ll feel secure in what you are bringing to the table.

S: My students are working on perspective taking and point of view. How do you find your way into a character? Do you have any suggestions for my students for understanding someone else’s perspective?

C: I think some importance advice that someone gave me for this subject was that “Everyone is the hero of their own story.” What this means is that no character thinks of himself as the villain. Each character is only doing what they think is right. Jafar in Aladdin doesn’t think “I am a bad guy for wanting to become the Sultan of Agrabah” but from an audience’s perspective, there are usually “good guys” and “bad guys” and Jafar would clearly fit into the “bad guy” category. It is the job of the actor to get to a place where they can motivate the actions of every character honestly. You have to put yourself in the world of the character and think “What has this character gone through so far in their life to make them have these view points and to make them want the things they want?” This is the first step of bringing any character to life.

S: How did the #Tappy series come about?

C: I was actually sitting backstage at the Book of Mormon on Broadway and listening to the song Cups on the Pitch Perfect movie soundtrack. At the time, people were posting videos of them performing the song while creating the drum beat with cups and their hands. I wondered if anyone had done a video using tap sounds instead. I looked around online and couldn’t find anything so I was inspired to do it myself.

A few weeks later, I recorded my friends and myself performing the choreography and uploaded it on YouTube. Within 24 hours, we had 55 thousand views and within 8 days we had a million hits! The success of this video inspired me to continue choreographing and creating.

My second video was to the hit song “Happy”. We created the hashtag #Tappy and the Tappy series was born!

S: Collaborating is a district-wide goal for my students. How do you choose who you want to collaborate with in your #Tappy series? Do you have any tips for them?

C: I think the performing business is all about who you know. I started casting my videos by thinking “Who do I know that is talented and great to work with?” Life is too short for egos. You don’t want to work with someone who is going to take up the very limited rehearsal time with unnecessary drama so being a kind, collected, and respectful human being can help your career in addition to making your life more focused.

Moving on to future tap videos, I decided to “reach for the stars” and ask people who I only dreamed of performing with! Always try! I asked some big-time stars who were unable to participate due to contractual limitations, but others have said yes! I’ve had the opportunity to sing duets and to tap alongside some people who I have admired in the business for years! They could have all said no, but I asked anyway. You never know who will be willing to collaborate with you, so I say go for it!

On that note, please always be respectful of the time of your collaborators. Have a set (realistic) schedule, show up early, be prepared, and make the experience easy and great for them.

S: I’ve watched all of your videos multiple times and your joy when dancing is just contagious. Is that something you developed through dance, or are you just a genuinely enthusiastic person?

C: Without sounding like a jerk, I think I am a genuinely enthusiastic person. That said, dance elevates my joy in a way that I can’t quite describe. Dancing, and tapping specifically, brings a lot of happiness to me. I always admired dancers and definitely was not one myself. I had to work hard to even pass as a “mover”. Now, I am thankful I am in a place where I can perform while dancing and let my own personality shine through while also doing the correct steps with my feet.

S: What have you learned from acting that you can apply to your daily life?

C: Identify what you want, what your obstacles are, and make a plan of how to surpass them to arrive at your goal. That applies to a scene, a song, and to life.

S: What have you learned from dancing and choreographing that you apply to your daily life?

C: Spatial awareness is a huge lesson that the dance world has taught me. I can’t stand when I am in line for something and someone is breathing down my neck in line behind me or when someone cuts you off and is completely unaware of their body and the space you two share. Personal space is something we need to all become aware of and pay attention to in life and dancing and choreographing has helped me do so.

S: What does choreographing do for you that dancing does not, and what does dancing do for you creatively that choreographing does not?

C: If you have a performers’ heart and soul, then nothing feels better than performing a dance yourself. It amplifies the most courageous and passionate parts of yourself and allows you to escape into a higher level of being for a few moments. There is nothing like it.

Choreographing is always a fun process but it is definitely more of an intellectual one than performing. You have a vision of a final product in mind and it is your job to hammer away at all of the extra rock until you have nothing but the beautiful sculpture in front of you. It takes a lot of thought. Do I need this section? Does this help the overall number? It can be a lot of work, but also a lot of fun! It is satisfying to see the finished product.

S: When you were younger, did you know you wanted to be a performer?

C: Without a doubt, I always knew I loved performing. When I was a young kid, everyone told me I was going to be a movie star because I was so theatrical so that was my plan. I figured I would grow up and then start being in films… simple right? I did not know you could make a living as a performer on stage until my mom took me to the national tour of Disney’s Beauty and the Beast for my birthday. I was turning 13, I believe, and when I saw the magic that was happening on stage, I thought to myself “I have to do this.” I started asking questions and learned these actors made a living performing in musicals and in that moment, my plans to be a movie star were thrown out and my dream of being a performer on Broadway was born.

S: What is your most memorable experience either seeing a show or performing in a show?

C: I have been fortunate enough to see some really special productions that have challenged the way I think, inspired me, uplifted me, and moved me. It is hard to pick just one because so many of these wonderful shows have touched me in different ways.

As a teen and into my college years, whenever I would see a Broadway show or tour, I would head to the stage door to meet the actors as they exited the theatre. I have boxes of Playbills signed by the actors and pictures with them at the stage door from my years of seeing shows as a young theatre enthusiast. Some of my most special moments after performing in a show have been meeting young theatre fans at the stage door. It is so fulfilling to hear their stories and answer their questions. It is always a very “full circle” moment for me. I am happy to give back and to help inspire the next generation of performers just as the actors who I met at the stage door inspired me!

S: Every week I challenge my students and readers to do something that gets them outside of their comfort zone. What would you challenge them to do?

C: I would encourage them to spend a day (or week) attempting to listen more. Practice being a good listener. Don’t misunderstand me and think I mean you must be a mute for a week. I simply mean listen to hear and understand and don’t listen to respond. Try not cutting off others to respond and let them finish or expand upon their thoughts. You might learn something.
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I thoroughly enjoyed learning so much from Chris, and really hope my students take his challenge to heart. There’s something so powerful about listening to hear; it’s so grounding and makes you really pay attention to the words being shared with you. I’m taking this challenge on personally, and can’t wait to see how my readers do with it in comments. If you haven’t seen his #Tappy series on YouTube, please do yourself a favor and go watch it. My personal favorite is “The Boogie Woogie Candyman of Company B,” since my Bubby sang “The Boogie Woogie Bugle Boy” all the time when I was growing up, and used to teach me tap lessons in my parents’ foyer while she sang.  It will instantly brighten your day and make you grin—I’m certain it’s impossible to watch these videos without smiling.

Keep playing with words and see what your message creates!
–Stef the StageSLP

Newsies is arguably one of those shows that came into my life just when I needed it. I still blast that cast recording when I’m getting work done or put the filmed version on when I need a pick-me-up. This show just makes you inherently happy, and makes you want to get up and dance—especially if you’re also a dancer, like I am. I was so excited to talk to  actor and choreographer Chaz Wolcott, who along with touring in Disney’s Newsies and the live taping of Disney’s Newsies, choreographs and teaches dance regularly. We talk about how he came into the theatre and dance worlds, what performing has done for him on and offstage, and the importance of taking care of yourself mentally and physically.

S: What got you into dance, and what made it stick for you?
C: My parents taught swing dancing, which is actually how they met, so they taught me the basics when I was in diapers. I think everyone spends much of their life looking for something that helps them cope with the world, a coping mechanism that helps explain the universe and make them understand the world around them. For me, I was lucky to find out at a very young age that dancing is the only thing that can really make me feel alive, and help me get through some of life’s tougher twists.
S: How did you get into theatre?
C: A director named Steven Anderson saw me dance at a competition and approached my mom telling her I had to audition for this play he was directing, A Wrinkle in Time by Madeline L’Engle. My mom told him I didn’t act and she didn’t think I could do it, but he convinced her to let me audition. At my audition, he told her that I had the part, which was a pretty demanding role with tons of lines. I was only 8 and fell in love with the world of theatre immediately. I felt at home and like I had found the community I wanted to be a part of.
S: How did singing fit into performing for you?
C:  Singing was the last of the three disciplines I found a love for, just because it was the last area I started training in. I always advise younger performers to work on the area that scares them the most, because it will always be your Achilles’ heel when trying to book a job, and you don’t want to think “I should’ve trained more!”
S: I got to see you in Newsies both on tour and in the live taping. What do you do to protect your voice?
C:  Many of us travel with personal steamers, and use neti-pots when we start to get sick or congested. Touring can add another layer to that because you are constantly in different climates with different allergens, etc. I actually lost my voice and had to miss a few shows when we were in Chicago in winter, mainly because it was so dry and cold, I was dehydrated and not breathing well! It’s a constant worry for touring actors, especially with a show as vocally demanding as Newsies. Also, steer clear of extremely acidic foods (especially late at night), which can cause acid reflux and destroy your voice!
S: How do you make sure you’re performance ready in such a physically demanding show like Newsies?
C: WARMING UP. So many dancers skip over warming up (and cooling down), especially when they are young, but it is essential to train the body and keep your technique in tip-top shape. I have developed a 40-45 minute warm-up for classes I teach, that I do myself to warm myself up before a show. I also learned from touring that you must cross-train with other exercise, dancing, styles, etc. when doing a show for a long time, otherwise your body can be out of whack doing the same choreography every day for 2 years. So, I recommend trying to find classes to take or choreography to work on that would make your body move in a different way than it was on stage every night!
S: What do you want audiences to feel when they walk out of a performance after the
lights come back up?
C: I want them to feel disappointment that the lights came up and it is over! I think theatre, arts, and dance can be the escape many people need in our busy, stressful, dramatic lives. I love providing that to audiences in whatever show I am doing – so I want them to be so invested in the story and the art that they don’t want it to end!
S: What’s it like to be in a show with such a large following?
C: I can’t even put into words what the fans of Newsies mean to me. Some of the sweetest, most supportive people came into my life because of our little show, which I think makes sense because the show is so incredibly inspiring. I love that it has helped people find their voice, their strength, their passion. I love that it has inspired people to pursue careers in the arts. I love that it has opened up a national dialogue about fighting for the little guy. I have connected with so many fans on social media and at the stage doors, received countless gifts and letters and discussed life, careers, paths, plans and everything else you can imagine with these supporters. The Fansie community is a special one, and I love seeing them connect with each other and find their community. Like I said, finding a way to cope with life and its trials and tribulations is so necessary and I think the fansies have found the motivation they need in their own lives from the message of the show. I will say adjusting to having a lot of people following me on social media has been funny at times…remembering that anything posted on the internet will never go away, remembering that we are setting an example and need to use our platform wisely…. these are things I never had to think about before the show. I get a kick out of every time a Fansie shares a screenshot of some old video or something – they save everything!!! I also think it is important to share my personal beliefs and stand up for the values I am passionate about and share that with the fans. I believe they want to know how we feel as human beings, not just see pictures of us with other cast members drinking milkshakes. So, that realization (and the spirit of the show in general) has encouraged me to have a voice and stand up for causes and platforms I am passionate about publicly. I think it is important to fight for something in your life.
S: Do you have any tips for breath support while singing and dancing?
C: Yikes! I think it is something we all work on all the time. I think practice is the best path to success. Many of us practice those things separately when we should be practicing them together to improve stamina and ability. I have actually been thinking a lot about how no one offers a class in NYC where you must do both simultaneously. Hmmm…

S: As a teacher at Broadway Dance Center and a Broadway performer, do you still take
class?
C: I do! As often as I can! I have been teaching a lot at BDC, so I definitely find myself fatigued from dancing in my own classes, but class is so important. I still take my own class as if I am a student, and add to that the pressure of all the students watching you – it helps me stay in shape! But, I do believe taking class from other artists is key to staying artistically open, flexible and smart. The best artists are the 80-year-old actors who still take class multiple times per week. No one is ever perfect, and you can learn something from every single teacher out there.
S: How do you create your choreography? Music first? Steps first? Idea first? Improv?
C: It varies. I usually have to be inspired by the music first, which usually sparks a
story, which I then create the steps to tell that story. As a choreographer, you’re often not afforded the luxury of that order, so many times you MUST choreograph to certain music designated for the show or piece, to tell a specific story. So, one must be flexible and realize that creativity must be able to flow in any order. It’s challenging but also very exciting to try to use the body to tell a story. It sounds simple, but it can be so complex and challenging to convey a message with only the dancing.
S: What have you learned from dance that you wouldn’t have learned from another
activity that can be applied to your daily life?
C: I think dance helps you to “step out of your shell” more than your average career. I get up in front of thousands of people and tell a story with my body. I am not particularly confident, but I have to fake a confidence in that situation. I think the ability to step on to a stage (or even in a class) and put yourself out there builds courage, confidence, self esteem and leadership abilities. In every walk of life, you have to put yourself out there, so training as a dancer helps you get over the “stage fright” side of things like that, and even find enjoyment in those jitters.

S: What does choreographing do for you that dancing others’ choreography does not, and what does dancing others’ work do for you that choreographing does not?
C: I have found such joy in creating choreography. As a dancer, you are not always in tune with the choreography you are performing, even as mightily as you may try. But, being the creator of the choreography you can create whatever accents, rhythm and storytelling devices you want, which is really refreshing! I have actually never felt as nervous as I do when my choreography is being performed, it is oddly exciting. You’d think being on stage would be more terrifying, but somehow sitting in the audience watching my work being performed is even more nerve-wracking. On the other hand, as a dancer, it is liberating to not have to worry about every single thing on stage like a
choreographer does, but just focus on your personal contribution to the piece. It’s that ability to let go and narrowly focus that makes a dance/scene successful – when every artist on stage is narrowly focused on successfully conveying their story, the whole piece sparkles (and the jittery choreographer in the audience smiles)! Right now, I am enjoying an amazing balance of dancing and directing/choreographing and it is so exciting to bounce back and forth and experience the joys in both sides of this art form.
S: How do you switch your perspective from yourself to a character and back over the course of a show?
C: It’s funny – I teach my students a very simple trick I came up with. Obviously, in rehearsals and development of a show, you need much deeper character study and research and exploration, but once the show and character are in your body, I recommend saying one word (in your head) that describes the emotion you should be having in the piece you are about to perform to focus your energy and remind yourself what you are doing, and to put the backstage antics that may have just happened on the back burner of your brain. I think this simple tool can help remind an actor of the exploration they have done on the character and the work they put in to prepare for this scene, and forces them to be in the moment and not take the situation for granted by fooling around or not being in the scene the second they step foot on stage. Of course,
this is something we all aspire to, I am definitely not perfect. But, I think having the goal of telling the story and being in the moment every single time you step on stage is the best goal to have.
S: As a performer, it’s your job to collaborate with others and work as a team. What advice can you give to my students on that?
C: BE NICE. The people who work are the nice people because people want to work with them, they want to collaborate with them, they want to be stuck in rehearsals with them 10 hours per day. I’ve worked with some people all over the nice spectrum, and can honestly say I think being nice is more important than being talented.
S: Do you have any suggestions on how to be a productive member of a team?
C: Listen and be patient. This isn’t war or politics. It’s musical theatre. Enjoy the process. Try something you know isn’t going to work. Stay in your lane! (I have a hard time with that one sometimes. But, it is important to realize that you are one cog in a very large wheel. Even if you are trying to be helpful, you may just be making the situation more difficult.) So, do YOUR job and let others do theirs. Don’t give people notes unless you’re the dance captain or something. Don’t correct other people. Don’t step on toes. Just do your job and try to do it to the best of your abilities EVEN IF someone else’s mistakes makes it harder. Again, be nice. Be patient. Don’t get too caught up in what is “right” – just go with the flow and learn to love rehearsals and changes and notes. Be flexible.

S: How did you develop your teaching style?
C:  I attended Oklahoma City University, which offers incredible training in dance pedagogy – the art of teaching dance. I gained a lot of insight and perspective on how to construct dance classes and be encouraging and obtain results from my courses at OCU. But, also through admiration. I, myself, love taking class. I see what makes people respond to every teacher I take with and study it. Figuring out what makes people love someone’s class, style, choreography or show is part of figuring out what style you want to have when teaching, rehearsing, choreographing or directing. I see what I like, what others like and try to tailor my own leadership as a choreographer or teacher to fit what I think works best. I have had the privilege of being a student of some fabulous and inspiring teachers my whole life, so I definitely try to make my teaching style a mixture of all my favorite teachers’ qualities.
S: What’s your most memorable performing experience, either onstage or as an audience member?
C: Filming the Newsies movie was and will always be one of the most exhilarating nights of my entire life. The audience was SO excited and gave us so much encouragement and support. It was so moving. I cried so many times when I came offstage. It was one of those experiences that everyone in the room will never forget.
S: Every week I give my readers and students a challenge and encourage them to try new things. What would you challenge them to do?
C: Stare at yourself in the mirror and tell yourself 10 things you love about yourself. Do it seriously. We spend SO MUCH TIME trying to improve ourselves and fix things about ourselves, and SO MUCH TIME getting told we aren’t good enough, tall enough, smart enough, young enough, skinny enough or whatever enough….but we are ENOUGH. So I think some self-love is a good way to reteach your brain that you are worthy of compliments and love. Look, we are all capable of way more than we are today. We are all capable of way more than we will be tomorrow. But, we are also capable of loving ourselves while working through that process with high aims. It’s okay to be working on improving yourself and your abilities. Secret: you will never be the best at anything. There will always be someone better, so don’t be so hard on yourself because when all those NOs come in, you have to love yourself enough to look in the mirror and say YES. And show up tomorrow for more work. The more you say YES to yourself, the more likely someone will agree with you some day. But you have to say yes to yourself first.

I am so grateful to have been able to interview Chaz. Staying in my lane is certainly something I need to work on, and everything he discussed in terms of dance resonated with me. I’ve said it before and I’ll say it again, once a dancer, ALWAYS a dancer. I can’t wait to give this challenge to my students and see how you all take to it in the comments. I know I look forward to it. When I was dancing, it was always easy to criticize myself in the mirror—that’s why it was there, after, all, to correct yourself. Those thoughts don’t always leave just because you’re not standing in front of the mirror in the studio anymore. I thoroughly enjoyed the positivity that came pouring out of this interview, and I hope you did too!

Keep playing with words and see what your message creates!
–Stef that StageSLP

One of the most beloved shows in Broadway History has been revived this season: Hello, Dolly! I was fortunate enough to see this show back in April while it was still in previews. In shows like this that shine a light on its star, I’ve always liked to see who’s performing in the ensemble. When I took my seat, and opened my Playbill and saw Jessica Lee Goldyn’s name, I knew I was in for something truly special. I have been following Jessica’s career since I saw her as Val in the 2007 revival of A Chorus Line. In the previous season, I had seen her perform in Tuck Everlasting, which I will always say is one of the most beautifully crafted shows I’ve ever seen. Every time I’ve seen her onstage, I wasn’t able to take my eyes off of her. I was truly honored when she agreed to speak with me about her story, her experiences in dance and theatre, and the need for genuine human connection.

S: How did you get into theatre?

J: I grew up dancing. I started dancing when I was three, and I was a gymnast for five years, but I continued dancing. When I stopped gymnastics, my mother didn’t know what to do with me. One day, I sang a solo in church, and someone sitting next to my mother said I had a pretty good voice, and recommended I start going to a studio in Morristown, New Jersey. I got to sing and dance there, and that was it. Around that time, I saw Bebe Neuwirth in Chicago and that was it for me. I was hooked.

S: Dance was my way in, too. It’s sort of inherently competitive, though. What made you stick with it as a kid? Did you ever get frustrated with it?

J: The only time I remember being frustrated with dance was in ballet. I knew I needed to do it for the technique. My preferred style of dance is reckless abandonment, so I’m grateful that I have the foundation of technique in order to break those rules. I didn’t like holding a flower and standing second from the end, I just felt like I was the weird musical theatre kid in ballet class.

S: I was that kid!

J: You know what I mean? I remember spending so much time trying to make the girls laugh rather than taking class seriously. Dance, for me, feels effortless. Even if it’s something that feels like it’s beyond my physical ability, it just feels so natural and it’s my gift to the world. There are things I try and do that may not fit me, but it’s like air. It feels like flying.

S: What have you learned from theatre and dance that you’ve been able to apply to everyday life?

J: I learned to be in the moment for what it is, and be malleable. You never know what’s going to happen in every moment. Just being present in that moment and reacting to it is a way that you will look back on and feel content with.  I also learned how to take rejection. You’re not always going to get what you want. And knowing things work out the way they’re supposed to and you’re meant to be doing what you’re doing when you’re doing it.

S: You’ve gotten to do both original work and revivals. Is there a difference in how you approach the character?

J: When you do a revival, there’s a precedent already set, and it can be scary to venture off from what is known or safe. With A Chorus Line, they let me fly; I got to balance what I was doing with what everyone fell in love with about the show for the first time. With a new work, you have the freedom to make it whatever it is you want it to be. I think that that’s exciting. I enjoy both very much. With a revival, it’s like a paint-by-numbers. You can change the colors, but the end product is roughly the same as the original. With a new work, it constantly changes until it’s done. They’re both so challenging, but both so rewarding.

S: Everything I’ve seen you in has been pretty dance-heavy. How do you protect your voice and body in these shows?

J: I’m a big believer in breath through dance and breathing through the movement. I think gymnastics helped with my endurance in both dancing and singing. And in general, if I’m singing more in role, I’m aware of what I’m eating and staying hydrated and getting tons of sleep. I notice a huge difference in my voice. My body can be a little sore and I can still dance. My voice is more delicate—I have to warm up, I have to sleep well, and I have to stay hydrated.

S: Auditioning is part of the job for you, and so is putting yourself out there on a daily basis. Some of my kids have a hard time putting themselves out there. How do you calm those the nerves?

J: I am somebody that prepares as much as possible. I listen to calming music, I make it joyous in my apartment. Maybe it’s eating a certain thing or listening to some nice music. I know when I get nervous I get quiet, and that makes it harder for me to come out of my shell. I try to stay up an active. I’ll stay warm and keep stretching and moving, and keep my spirit up and engaged. And then, if it’s meant to be, it will be, and to be myself. Being you and showing who you are and letting that shine can be more important than whether or not my presentation of the work was perfect.

S: What would you say to your elementary school self?

J: “You are cool,” is what I would say. I felt very much like an outsider in elementary school, and all I wanted to feel was cool. I liked dance, and I dressed different and I felt different. In the end, looking back, everything that made me feel less than is what makes me amazing and I didn’t see it then. So, I’d tell my elementary school self “You are cool and you are so enough.”

S: What keeps you motivated and alternatively, what keeps you grounded?

J: I think back to why I got into this in the first place and that spark. The feeling I get onstage and hearing the audience, I love working hard—that motivates me. What keeps me grounded are my family and my friends. They are everything. I’ll get upset about something that happened at work and then I’ll talk to them and everything falls into perspective. They make me realize what truly matters in life. And my friends love me for me, and they know when to level with me when I need it.

S: How do you perspective shift with your character in and outside of the show?

J: Every character that I play, I do believe a part of me is there. Even if it’s not something I’ve experienced, I’ve experienced that feeling in some regard. Also, it is just a show in the end. I can go and laugh in the wings and leave work at work. But I get to let out whatever is going on onstage through whatever I’m doing. I’ve never had a problem with leaving the theatre at the theatre and my life at the door. I think that’s how I’ve been able to navigate that.

S: I’m still working on that skill.

J: It’s not easy.

S: Every week, I challenge my students and readers to get out of their comfort zone in some way. What would you challenge my readers and students to do?

J: To connect with someone they might not understand, or love someone they feel distant from. I think that that is what helps people to grow the most. Understanding people and where they come from and the life they live, there is no better way to grow as a person. And it can be uncomfortable. We’re all just people and we’re all just doing the best that we can, and I think that that is one of the most beautiful ways to put yourself out there and challenge yourself.
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For those of you who have been following along for a while now, you know how excited I am for this challenge. What I do, both here and in my practice as a speech pathologist, is all rooted in the human connection and the human experience. Through our conversation, I was able to share with Jessica more similarities between her story and experiences and mine than I would’ve expected. I am so excited to share her messages of acceptance and kindness with my students, and see their responses to her challenge. I can’t thank Jessica enough for this conversation. Just like she said, it came to me exactly when I needed to hear what she had to say. If you can get tickets to see Hello, Dolly!, run don’t walk to get them. If you look up Broadway in the dictionary, this is the show you’ll find, with a full-page photo.

Keep playing with words and see what your message creates!
–Stef the StageSLP